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Chantel Paul: One "vice" to rule them all

Chantel Paul’s job as curatorial assistant at the Museum of Photographic Arts already speaks to one of her passions, but with a recent exhibition it managed to nail down at least one other of the “vices” she mentioned in our Q&A. I’ve been curious to learn more about the kinds of photographs a person takes when their job immerses them in iconic photography, so I asked Paul about finding inspiration through her position.

"Boombox, Bird Park, 2010."

Could you describe your position at MoPA?

Chantel Paul: I'm the curatorial assistant to the director of the museum and have been working with her to help curate an exhibition that's opening in February called Streetwise: Masters of 60s Photography. It's been a great experience being involved in the curatorial process, as well as helping publish the accompanying exhibition catalog and organize all the components for the exhibition. The exhibition will also be traveling to other national venues, so it's been a very rich experience to help coordinate this show.

How would you describe your photography?

CP: I have three very specific vices. Photography, music, and fashion. For me, photography becomes the catalyst of linking the other two visually. Just looking through my photographs, there is always an element of music or fashion and quite often both. To me those three are visceral. I don't know my life without them. In essence my photography becomes a window into my world where there is virtually no separation of that trio.

Since you describe music as a vice, what was your reaction to the recent MoPA exhibition "Taking Aim: Unforgettable Rock 'n' Roll Photographs Selected by Graham Nash"?

CP: There was definitely a bit of a kismet aspect to Taking Aim opening when it did at MoPA. I had moved on to MoPA directly from a 5 and half year position as gallery director for the Morrison Hotel Galleries in La Jolla and Del Mar. I worked directly with many of the photographers in Taking Aim, including Graham Nash, Henry Diltz and Neal Preston to name a few. The galleries ended up closing in January, 2010 and I felt very fortunate to be able to move into another position I was equally passionate about. The opening of the exhibition at MoPA felt like a homecoming for me - to have so many close friends and important people in my life gathered in one place. Needless to say, I was elated and quite frankly, quite sentimental during our opening night lecture which featured a number of photographers including both Graham Nash and Henry Diltz. Henry is a partner in the Morrison Hotel Gallery and a great friend. I was just so happy to have him continue to be a part of my life.

"Dance Loud, Casbah, 2009."

One of your images reminds me of this photo from that exhibition of the Beatles' feet, taken by Lynne Goldsmith. Can you tell me about your photo, and is this a coincidence or perhaps some level of inspiration?

CP: This directly ties into MHG life. The gallery was definitely an inspiration. I remember going in for my first interview thinking, "I'll get paid to work here?! Yes, please!". I did work with Lynn's archive and was very familiar with her image of the Beatles' boots for quite some time before I shot the image you are referring to, which was the album cover for The Old In Out's debut release Dance Loud in 2010. On a subconscious level, anything is possible. Personally, I have an affinity for shoes and have been photographing them for years in every possible scenario. At the moment I took that shot, I knew what I was looking for and I had to be patient and wait for it to happen. The contrast of the shoes with both the outfit and the original stage carpet at the Casbah was too good to pass up. I felt it summed up the band, the music and fulfilled my own artistic vision. I think I'll always love that image.

"Self Portrait, Casbah, 2008." On the image: "One thing I do often is self-portraits and I love the idea of creating a concrete memory through that. I do them when I travel and to mark special occasions/ experiences. That could be just going out to eat and encountering a great bathroom that I have to document!"

In general, have you noticed elements from works at MoPA finding their way into your photos?

CP: That's a tough one. I feel that every time I am introduced to new work that speaks to me, I'm inspired. In the beginning stages of curating Streetwise, I suddenly starting photographing shadows a WHOLE lot more. I think Lee Friedlander was definitely seeping in there! More than anything it's an overall urge to just get out and photograph. One of the most inspiring things I've seen lately was the John Baldessari: Pure Beauty exhibition at LACMA in Los Angeles this past August. So much so that I've been urging my dad to go see it at the Met in NYC. I was just blown away and walked away thoroughly charged.